Piano SKU: HL.14030676 Ten Short Pieces for Piano. Composed by Rue...(+)
Piano
SKU:
HL.14030676
Ten
Short Pieces for
Piano. Composed by
Rued Langgaard. Music
Sales America. Classical.
Score. Composed 2020.
Duration 1200 seconds.
Edition Wilhelm Hansen
#KP00666. Published by
Edition Wilhelm Hansen
(HL.14030676).
ISBN
9788759863879.
Danish.
The 'Ten
short piano pieces' with
the title Sommerferie i
Blekinge (Summer Holiday
in Blekinge) (1916) have
not been preserved in
their complete form. The
only existing source is a
manuscript in Rued
Langgaard's hand that
lacks the first and last
pages with sections of
the music. This means
that the entire first
piano piece with the
title Paa rejse
(Travelling) is missing
as well as most of Piece
II, Mode (Meeting) (only
the conclusion of this
piece has been
preserved). A large
fragment exists of Piece
X, Aften med Dans
(Evening with Dancing),
but the conclusion is
missing. The manuscript
is to be found at the
Royal Danish Library in
Copenhagen (RLS 83,2). On
the first page,Langgaard
has merely written 'Piano
Pieces 1916': the real
title and titles of the
movements in the first
two pieces derives from
other sources. In 2008,
the Rued Langgaard
Society asked the Danish
composer Niels Marthinsen
(b. 1963) to add to the
work, the aim being to
create a 'performance
version'. Marthinsen
composed a complete new
first piece - Paa rejse
(Travelling) - and
allowed it to merge with
the preserved concluding
fragment of Langgaard's
second piece, Mode
(Meeting). Niels
Marthinsen further
composed a conclusion to
the incomplete Piece X,
Aften med Dans (Evening
with Dancing), and in it
incorporated a reference
to the first piece, so
that his additions came
to form a frame round
what hasbeen preserved of
Langgaard's work. This
supplemented version was
given its first
performance by Berit
Johansen Tange in 2008.
The overall title and
titles of the individual
pieces refer to a summer
stay in 1913, i.e. three
years before the work was
composed, when the then
20-year-old composed was
on holiday in Kyrkhult in
Blekinge (Sweden).
Rekindle Flûte traversière [Partition + Accès audio] Boosey and Hawkes
Flute SKU: HL.48025157 For Flute and Soundtrack. Composed by Micha...(+)
Flute
SKU:
HL.48025157
For
Flute and Soundtrack.
Composed by Michael van
der Aa. Boosey and Hawkes
Chamber Music. Classical.
Softcover Audio Online.
16 pages. Duration 480
seconds. Bote and Bock
#M202537312. Published by
Bote and Bock
(HL.48025157).
UPC:
196288099673.
9.0x12.0x0.128
inches.
'Rekindle'
continues Michel van der
Aa's series of solo
pieces in which the
composer explores the
changing perspective
between live sound and
playback music and the
dissolution of boundaries
of these two
'identities'. A dialogue
develops in 'Rekindle'
which is controlled by
ear or pre-notated
signals during the
performance and virtually
rekindles the tonal
material of the
instrumentalist with the
playback music and vice
versa. Rhythmic pulsating
in the playback music
forms the basis of an
increasingly virtuoso
throwing back and forth
of the tonal gestures; at
its climax, the
electronics gain the
upper hand, driving the
flute into a flurry of
hectic outbreaks.
SKU: HL.49015551 Mit Erganzung: Rhythmik, Dynamik, Pedal. Composed...(+)
SKU: HL.49015551
Mit Erganzung:
Rhythmik, Dynamik,
Pedal. Composed by
Karl Leimer and Walter
Gieseking. This edition:
Paperback/Soft Cover.
Book. Edition Schott. Die
von Karl Leimer und
seinem Schuler Walter
Gieseking begrundete und
weiterentwickelte
Methodik des
Klavierspiels entstand in
der Absicht, der
Loslosung des Technischen
von der musikalischen
Gestaltung
entgegenzuwirken.
Classical. 130 pages.
Schott Music #ED 8707.
Published by Schott Music
(HL.49015551).
ISBN
9783795787073.
German.
Die von
Karl Leimer und seinem
Schuler Walter Gieseking
begrundete und
weiterentwickelte
Methodik des
Klavierspiels hat unter
Pianisten und
Klavierpadagogen weite
Verbreitung gefunden. Aus
der Absicht entstanden,
der Loslosung des
Technischen von der
musikalischen Gestaltung
entgegen zu wirken, wurde
ein System entwickelt,
das allen Aspekten des
Musizierens wieder
gleiche Bedeutung
zukommen lasst: der
Ausbildung der
pianistischen Fahigkeiten
ebenso wie der Analyse
der Musik und dem
Training von Gedachtnis
und Gehor. Bedingung
aller kunstlerischen
Gestaltung ist nach Karl
Leimer die intellektuelle
Aneignung, bei der
dennoch die Naturlichkeit
des Vortrags nicht
vernachlassigt werden
darf. Die beiden Arbeiten
Modernes Klavierspiel und
Rhythmik, Dynamik, Pedal
erscheinen erstmals
zusammengefasst in einem
Band.
Voice and piano (SGST/KL) - easy SKU: HL.49032825 Nach Gedichten von P...(+)
Voice and piano (SGST/KL)
- easy
SKU:
HL.49032825
Nach
Gedichten von Paula und
Richard Dehmel.
Composed by Walter
Gieseking. This edition:
Saddle stitching. Sheet
music. Edition Schott.
Composed 1934-1935. 36
pages. Schott Music #ED
8845. Published by Schott
Music (HL.49032825).
ISBN 9790001123389.
9.0x12.0x0.208
inches.
It is not
well-known that the
eminent pianist Walter
Gieseking (1895-1956)
also composed. Apart from
music for the piano and
chamber pieces, he wrote
this song cycle for his
daughters Jutta and
Freya. The songs have
been recorded on CD by
Elisabeth
Schwarzkopf.
20 Vortragsstücke
für Violoncello (1.-4.
Lage). Composed by
Andrea Holzer-Rhomberg.
Sheet music. 64 pages.
Holzschuh Musikverlag
#VHR 3870. Published by
Holzschuh Musikverlag
(M7.VHR-3870).
ISBN
9783864340710.
FÃ
r das aktive gemeinsame
Musizieren im
Musikunterricht oder zu
Hause mit Eltern und
Geschwistern ist zu jedem
Band eine Ausgabe mit
sämtlichen
Klavierbegleitungen
erhältlich. Diese sind
vom Schwierigkeitsgrad
her so konzipiert, dass
sie auch von
Klavierschülern
mühelos bewältigt
werden können.In Band
4 begeben wir uns auf
einen Streifzug durch
ferne Länder! In
Marokko besuchen wir
einen Markt, in Spanien
feiern wir eine Fiesta
Andaluza, in Italien
tanzen wir eine
Tarantella für
Marcella und in Paris
treffen wir La petite
Marguerite. Auch eine
verflixte 7, ein Harlekin
und nicht zuletzt der
Schorschi mit seinem
Schräg-Räg
entfachen ein Feuerwerk
an musikalischen Farben!
Spielfreude
garantiert!
By Gaelic Melody. Arranged by Gary Daigle. For Voices: Unison, assembly. Keyboar...(+)
By Gaelic Melody.
Arranged by Gary Daigle.
For Voices: Unison,
assembly. Keyboard
accompaniment.
Celebration Series
Sacred. Level: easy. 3
pages. Published by GIA
Publications.
For Violin and
Orchestra. Composed
by Behzad Ranjbaran.
Contemporary. Large
Score. With Standard
notation. Composed 1994.
144 pages. Duration 31
minutes. Theodore Presser
Company #416-41366L.
Published by Theodore
Presser Company
(PR.41641366L).
UPC:
680160585755.
From
my early years studying
violin at the Tehran
Music Conservatory, I was
captivated by the sound
of the kamancheh, an
ancient Persian bowed
instrument considered one
of the ancestors to the
modern violin. I was
pleased when the National
Endowment for the Arts
awarded me a grant to
write a violin concerto
as it provided me with an
occasion to rekindle my
fascination with the
kamancheh. The notion of
writing a violin concerto
that would incorporate
the power and brilliance
of a modern instrument
with the delicate and
lyrical character of an
ancient one was simply
irresistible. Moreover,
the inspiration from the
kamancheh also informed
my use of Persian modes,
melodic, and rhythmic
figures. The notes of the
violins open strings (G,
D, A, E) also influenced
many of the melodic and
harmonic elements of my
violin concerto. The
opening tutti is mostly
based on intervals of a
perfect 4th and 5th. The
primary material for each
movement incorporates
notes of two of the open
strings of the violin,
creating a three-note
melodic motif as the
basis of themes: 1 st
movement: A-D-A 2nd
movement: D-G-D 3rd
movement: E-A-E The
overall structure of the
concerto is organic and
cyclical, as themes are
shared between the three
movements. For example,
the main musical idea of
the third movement is a
transformation of the
first movements primary
theme. While the
movements share similar
musical materials, each
one is defined by
distinguishing
characters. The first
movement is conflicted;
alternating between
sections of unabashed
lyricism and unforgiving
ferocity. The second
movement is haunting,
mysterious, and
expressive with long
melodic lines that vary
continuously. It moves
through different moods
and characters including
a reimagining of a
traditional Persian
wedding tune played by
the orchestra (m. 98).
The third movement is
festive in character and
features much brilliant
passagework for the solo
violin. At the climax of
this movement, themes
from the previous
movements re-emerge
simultaneously with
greater intensity,
propelling the concerto
to an energetic finale.
The Concerto was composed
in 1994 and is dedicated
to Joshua Bell. From
my early years studying
violin at the Tehran
Music Conservatory, I was
captivated by the sound
of the kamancheh, an
ancient Persian bowed
instrument considered one
of the ancestors to the
modern violin. I was
pleased when the National
Endowment for the Arts
awarded me a grant to
write a violin concerto
as it provided me with an
occasion to rekindle my
fascination with the
kamancheh. The notion of
writing a violin concerto
that would incorporate
the power and brilliance
of a modern instrument
with the delicate and
lyrical character of an
ancient one was simply
irresistible. Moreover,
the inspiration from the
kamancheh also informed
my use of Persian modes,
melodic, and rhythmic
figures. The notes of the
violinas open strings (G,
D, A, E) also influenced
many of the melodic and
harmonic elements of my
violin concerto. The
opening tutti is mostly
based on intervals of a
perfect 4th and 5th. The
primary material for each
movement incorporates
notes of two of the open
strings of the violin,
creating a three-note
melodic motif as the
basis of themes: 1 st
movement: A-D-A 2nd
movement: D-G-D 3rd
movement: E-A-E The
overall structure of the
concerto is organic and
cyclical, as themes are
shared between the three
movements. For example,
the main musical idea of
the third movement is a
transformation of the
first movementas primary
theme. While the
movements share similar
musical materials, each
one is defined by
distinguishing
characters. The first
movement is conflicted;
alternating between
sections of unabashed
lyricism and unforgiving
ferocity. The second
movement is haunting,
mysterious, and
expressive with long
melodic lines that vary
continuously. It moves
through different moods
and characters including
a reimagining of a
traditional Persian
wedding tune played by
the orchestra (m. 98).
The third movement is
festive in character and
features much brilliant
passagework for the solo
violin. At the climax of
this movement, themes
from the previous
movements re-emerge
simultaneously with
greater intensity,
propelling the concerto
to an energetic finale.
The Concerto was composed
in 1994 and is dedicated
to Joshua Bell. From
my early years studying
violin at the Tehran
Music Conservatory, I was
captivated by the sound
of the kamancheh, an
ancient Persian bowed
instrument considered one
of the ancestors to the
modern violin. I was
pleased when the National
Endowment for the Arts
awarded me a grant to
write a violin concerto
as it provided me with an
occasion to rekindle my
fascination with the
kamancheh. The notion of
writing a violin concerto
that would incorporate
the power and brilliance
of a modern instrument
with the delicate and
lyrical character of an
ancient one was simply
irresistible. Moreover,
the inspiration from the
kamancheh also informed
my use of Persian modes,
melodic, and rhythmic
figures. The notes of the
violin's open strings (G,
D, A, E) also influenced
many of the melodic and
harmonic elements of my
violin concerto. The
opening tutti is mostly
based on intervals of a
perfect 4th and 5th. The
primary material for each
movement incorporates
notes of two of the open
strings of the violin,
creating a three-note
melodic motif as the
basis of themes: 1 st
movement: A-D-A 2nd
movement: D-G-D 3rd
movement: E-A-E The
overall structure of the
concerto is organic and
cyclical, as themes are
shared between the three
movements. For example,
the main musical idea of
the third movement is a
transformation of the
first movement's primary
theme. While the
movements share similar
musical materials, each
one is defined by
distinguishing
characters. The first
movement is conflicted;
alternating between
sections of unabashed
lyricism and unforgiving
ferocity. The second
movement is haunting,
mysterious, and
expressive with long
melodic lines that vary
continuously. It moves
through different moods
and characters including
a reimagining of a
traditional Persian
wedding tune played by
the orchestra (m. 98).
The third movement is
festive in character and
features much brilliant
passagework for the solo
violin. At the climax of
this movement, themes
from the previous
movements re-emerge
simultaneously with
greater intensity,
propelling the concerto
to an energetic finale.
The Concerto was composed
in 1994 and is dedicated
to Joshua Bell. From
my early years studying
violin at the Tehran
Music Conservatory, I was
captivated by the sound
of the kamancheh, an
ancient Persian bowed
instrument considered one
of the ancestors to the
modern violin. I was
pleased when the National
Endowment for the Arts
awarded me a grant to
write a violin concerto
as it provided me with an
occasion to rekindle my
fascination with the
kamancheh. The notionof
writing a violin concerto
that would incorporate
the power and brilliance
of a modern instrument
with the delicate and
lyrical character of an
ancient one was simply
irresistible. Moreover,
the inspiration from the
kamancheh also informed
my use of Persian modes,
melodic, and rhythmic
figures.The notes of the
violin’s open
strings (G, D, A, E) also
influenced many of the
melodic and harmonic
elements of my violin
concerto. The opening
tutti is mostly based on
intervals of a perfect
4th and 5th. The primary
material for each
movement incorporates
notes of two of the open
strings of the violin,
creating a three-note
melodic motif as the
basis of themes:1 st
movement: A-D-A2nd
movement: D-G-D3rd
movement: E-A-EThe
overall structure of the
concerto is organic and
cyclical, as themes are
shared between the three
movements. For example,
the main musical idea of
the third movement is a
transformation of the
first movement’s
primary theme. While the
movements share similar
musical materials, each
one is definedby
distinguishing
characters. The first
movement is conflicted;
alternating between
sections of unabashed
lyricism and
unforgivingferocity. The
second movement is
haunting, mysterious, and
expressive with long
melodic lines that vary
continuously. It moves
through different moods
and characters including
a reimagining of a
traditional Persian
wedding tune played by
the orchestra (m. 98).
The third movement is
festive in character and
features much brilliant
passagework for the solo
violin. At the climax of
this movement, themes
fromthe previous
movements re-emerge
simultaneously with
greater intensity,
propelling the concerto
to an energetic finale.
The Concerto was composed
in 1994 and is dedicated
to Joshua Bell.
Love-Free Chorale 3 parties SSA, Piano Carl Fischer
Choral SSA Choir and Piano SKU: CF.CM9706 Composed by Meredith Tompkins. ...(+)
Choral SSA Choir and
Piano
SKU:
CF.CM9706
Composed by
Meredith Tompkins. 12
pages. Duration 2:45.
Carl Fischer Music
#CM9706. Published by
Carl Fischer Music
(CF.CM9706).
ISBN
9781491160022. UPC:
680160918621. Key: D
minor. English. Sara
Teasdale, adapted by
Meredith
Tompkins.
Sara
Teasdale was a celebrated
American poet who lived
at the turn of the
twentieth century, known
for her classical style
and pure, openhearted
writing. At the young age
of twenty-three, she
became a published author
and went on to release a
total of eight
award-winning collections
of poetry in her
lifetime. Love-Free is a
reflective poem that
appears in Part I of
Rivers to the Sea,
published in 1915. In the
text, the narrator
experiences a range of
emotions centering around
lost love and the desire
to either separate from
or rekindle it.
Reminiscent of an antique
music box, the text is
paired with a waltz-like
accompaniment in a
lilting 3/4 pattern.
Melodic exploration of
the natural minor scale
is achieved through
mostly step-wise motion
and some carefully
placed, text-painted
leaps ranging from a
minor third to a sixth.
With some unison, SA, and
SSA sections, this piece
can show off the wide
array of colors and
textures available to
treble choirs. Sara
Teasdale was a celebrated
American poet who lived
at the turn of the
twentieth century, known
for her classical style
and pure, openhearted
writing. At the young age
of twenty-three, she
became a published author
and went on to release a
total of eight
award-winning collections
of poetry in her
lifetime. Love-Free is a
reflective poem that
appears in Part I of
Rivers to the Sea,
published in 1915. In the
text, the narrator
experiences a range of
emotions centering around
lost love and the
desire to either separate
from or rekindle it.
Reminiscent of an antique
music box, the text is
paired with a waltz-like
accompaniment in a
lilting 3/4 pattern.
Melodic exploration of
the natural minor scale
is achieved through
mostly step-wise motion
and some carefully
placed, text-painted
leaps ranging from a
minor third to a sixth.
With some unison, SA, and
SSA sections, this piece
can show off the wide
array of colors and
textures available to
treble choirs.
Keyboard SKU: M7.ART-42202 20 moderne Spielstücke für Keyboard(+)
Keyboard
SKU:
M7.ART-42202
20
moderne Spielstücke
für Keyboard.
Composed by Elmar Mihm.
Score with online audio
files. Performance book.
44 pages. MDS (Music
Distribution Services)
#ART 42202. Published by
MDS (Music Distribution
Services) (M7.ART-42202).
ISBN
9783866422025.
'My
Modern Keyboard
Collection' ist eine
spannende und lehrreiche
Sammlung moderner und
klangschöner
Kompositionen für
Keyboard. Entdecke und
erforsche romantische
Balladen, Chillout Music,
Rock, Pop, Latin,
Country, traditionelle
und keltische Musik mit
den jeweils typischen
Sounds, interessanten
Harmonien und fesselnden
Rhythmen. Die Stücke
sind leicht bis
mittelschwer spielbar und
fördern besonders das
Hineindenken in die
Spielweise
verschiedenster
Instrumente und
Musikstile aus aller
Welt. Alle Stücke sind
mit Griffbildern der
verwendeten Akkorde und
Vorschlägen für
Sound, Style und Tempo
versehen. Du bist jedoch
herzlich eingeladen,
kreativ die Klänge und
Rhythmen Deines
Instruments zu nutzen und
eigene Versionen zu
schaffen. 'My Modern
Keyboard Collection'
fördert Dein
Verständnis für
diverse verschiedene
Musikstile, Dein
Rhythmusgefühl und
Deine Fingerfertigkeit.
Das Buch richtet sich an
Keyboardschüler ab dem
dritten Unterrichtsjahr
sowie an alle Liebhaber
bunter und emotionaler
Keyboardmusik. Eine
schöne Zeit an Deinem
Keyboard wünscht Elmar
Mihm.
Ensemble (or chamber orchestra) SKU: HL.49018708 For ensemble (or cham...(+)
Ensemble (or chamber
orchestra)
SKU:
HL.49018708
For
ensemble (or chamber
orchestra). Composed
by Jorg Widmann. This
edition: Paperback/Soft
Cover. Sheet music. Study
Score. Study score.
Composed 2002. 88 pages.
Duration 25'. Schott
Music #ED21057. Published
by Schott Music
(HL.49018708).
ISBN
9790001175838.
8.25x11.75x0.225
inches.
Jorg
Widmann dedicated 'Freie
Stucke' to his teacher
Wolfgang Rihm on his
fiftieth birthday in
2002. The ten pieces for
mixed ensemble or
orchestra are 'inspired
by the wish for
concentration and
reduction. Each piece
focusses on one sound
phenomenon (pulse,
shaking ground, noise,
monophony, overtone
structures, etc.). All
parts are locked
together, however. The
ending of each piece is
the beginning of the next
one. Thus, something
disparate becomes
something continuously
narrated.' (Jorg
Widmann)
2 (2.
auch Picc.) * 1 (auch
Engl. Hr.) * 2 (1. auch
Bassklar., 2. auch
Kb-Klar., beide auch
Pedalp.) * 1 (auch Kfg.
und Lotosfl.) - 1 * 1
(auch Lotosfl.) * 1 * 0 -
S. (I: Crot. * Lotosfl. *
Wassergong [kl. Tamt.] *
Wassergong [c']* Tamt. *
Xylorimba * gr. Tr. *
Beck. * Glsp. * 5 Woodbl.
* 2 Peking-Oper-Gongs *
Trillerpf. * hohes Tomt.
* 2 hohe Tamb. * Steel
Drum * Rototoms [chrom.]
* Buckelgongs; II: Chin.
Beck. * 5 Woodbl. *
Lotosfl. * Pedalpauke
[auch m. schwerem
20-Zoll-Ride-Beck. m.
Kuppe aufgelegt] * 5
Beck. * Xylorimba *
Peitsche * gr. Tr. *
Crot. * Trgl. * Glsp *
Flex. * Guiro *
Peking-Oper-Gong *
Trillerpf. * Rohrengl.)
(2 Spieler) - Str. (1 * 1
* 1 * 1 * 1 [Kb. mit 5.
Saite H], oder
chorisch).
Orchestra; Piano (Study Score) SKU: HL.48025214 For Piano and Orchestr...(+)
Orchestra; Piano (Study
Score)
SKU:
HL.48025214
For
Piano and Orchestra Study
Score. Composed by
Qigang Chen. Boosey &
Hawkes Scores/Books.
Classical. Softcover. 48
pages. Boosey & Hawkes
#M060135163. Published by
Boosey & Hawkes
(HL.48025214).
ISBN
9781784544485. UPC:
196288133421.
8.25x12.0x0.157
inches.
Er Huang
was commissioned by
Carnegie Hall, New York
where, in 2009, it
received its world
premiere with solo
pianist Lang Lang and the
Juilliard Orchestra under
the baton of Michael
Tilson Thomas. Chen wrote
about the work, 'Music
has its own life –
for me the germination of
any musical work is like
a tree growing out of the
ground, and the eventual
outcome of this life is
entirely unknowable in
advance.' Commenting on
the connection between Er
Huang and its source of
inspiration, the Er Huang
tunes from the classical
Peking Opera repertoire,
he says that, 'the way I
applied musical elements
from Peking Opera to my
own writing was not
really based on
musicological studies.
Rather, these tunes were
an essential part of my
childhood in Beijing, and
always intertwined with
memories of my family and
the society I lived in at
the time. Many people
from my generation would
be able to hum these
tunes by heart. These
days, however, these
familiar tunes have been
almost entirely
forgotten, as the younger
generation is much more
occupied by western pop
culture. This is why,
when I quote these tunes,
Ioften do so with a great
sense of nostalgia.
Traditional Chinese music
has a very strong
character, and the
organic assimilation of
something that I feel
most akin to, over time,
into my own musical
language, has become an
essential part of my
artistic
expression.'.
2 Pianos, 4 Hands (Piano Solo) SKU: HL.48025215 Reduction for Two Pian...(+)
2 Pianos, 4 Hands (Piano
Solo)
SKU:
HL.48025215
Reduction for Two
Pianos. Composed by
Qigang Chen. BH Piano.
Classical. Softcover. 56
pages. Boosey & Hawkes
#M060140105. Published by
Boosey & Hawkes
(HL.48025215).
UPC:
196288133438.
Er
Huang was commissioned by
Carnegie Hall, New York
where, in 2009, it
received its world
premiere with solo
pianist Lang Lang and the
Juilliard Orchestra under
the baton of Michael
Tilson Thomas. Chen wrote
about the work, 'Music
has its own life –
for me the germination of
any musical work is like
a tree growing out of the
ground, and the eventual
outcome of this life is
entirely unknowable in
advance.' Commenting on
the connection between Er
Huang and its source of
inspiration, the Er Huang
tunes from the classical
Peking Opera repertoire,
he says that, 'the way I
applied musical elements
from Peking Opera to my
own writing was not
really based on
musicological studies.
Rather, these tunes were
an essential part of my
childhood in Beijing, and
always intertwined with
memories of my family and
the society I lived in at
the time. Many people
from my generation would
be able to hum these
tunes by heart. These
days, however, these
familiar tunes have been
almost entirely
forgotten, as the younger
generation is much more
occupied by western pop
culture. This is why,
when I quote these tunes,
I often do so with a
great sense of nostalgia.
Traditional Chinese music
has a very strong
character, and the
organic assimilation of
something that I feel
most akin to, over time,
into my own musical
language, has become an
essential part of my
artistic
expression.'.
Voice SKU: GH.CVI-3648 Composed by Cathrine Sadolin. Educational. Gehrman...(+)
Voice
SKU:
GH.CVI-3648
Composed
by Cathrine Sadolin.
Educational. Gehrmans
Musikforlag #CVI 3648.
Published by Gehrmans
Musikforlag
(GH.CVI-3648).
Kokonaisvaltais
en aanenkayton tekniikka
(Complete Vocal
Technique, CVT) on
uraauurtava
innovatiivinen
lahestymistapa
lalunopetukseen, josta on
apua kaikille
ihmisaanesta
kiinnostuneille, niin
aloittelijoille kuin
kokeneille
ammattilaisillekin.
Mnetelman tekniikoita
voidaan kayttaa kaikissa
laulutyyleissa.
Ki
rja perustuu tuoreeseen
ja jatkuvasti paivettyyn
laulutekniikan
tutkimukseen. CVT:ta
suosittelevat laulajat,
laulunopettajat,
nayttelijat,
puheterapeutit ja
laakarit eri puolilla
maailmaa.
Cathrine Sadolin
on maailman johtavia
lauluaanen tutkijoita.
Han on perehtynyt
laulamisen eri tyyleihin
25 vuoden ajan ja itsekin
ammattilaulajana
kehittanyt innovatiivista
lahestymistapaansa myos
omien kokemustensa
kautta. Han vierailee
saannollisesti
luennoitsijana
aanenkayton
kansainvalisissa
konferensseissa. Han on
erikoistunut laluaanen
ongelmien ratkaisuun,
vasyneen aanen
kuntoutukseen ja
laulutekniikan opetukseen
kaikissa eri musiikin
tyylilajeissa. Han on
tyoskennellyt niin
teattereissa, oopperoissa
kuin levy-yhtioissakin
aanikouluttajana ja
tuottajana. Han on itse
esiintynyt eri puolilla
Eurooppaa klassisen,
folk- ja rockmusiikin
laulajana ja tehnyt
useita levyva.
Vuonna 2002
Cathrine perusti
kolmivuotisen laulu- ja
laulunopettajakurssin,
joka on tarkoitettu
jatkokoulutukseksi
laulamisen
ammattilaisille. Vuonna
2005 han perusti
Koopenhaminaan Complete
Vocal Institute (CVI)
-oppilaitoksen. Nykyaan
CVI:lla on haaraosastoja
eri maissa, ja se on
Euroopan suurin
laulamisen ammattilaisten
ja puoliammattilaisten
koulutuslaitos.
Choral (SATB divisi) SKU: HL.1436076 Composed by Evelyn Simpson-Curenton....(+)
Choral (SATB divisi)
SKU: HL.1436076
Composed by Evelyn
Simpson-Curenton. Gentry
Publications. Octavo.
Gentry Publications
#JG2718. Published by
Gentry Publications
(HL.1436076).
UPC:
196288203773.
Are
you looking for a unique
setting by a mutifaceted
composer? Look no
further. Explore Evelyn
Simpson-Curenton's
remarkable adaptation,
“Prayer for the
Congregation,” blending
St. Francis of Assisi's
text into a reverent SATB
div, piano, organ, bass
guitar, and drum set
piece. With
Simpson-Curenton's unique
fusion of acappella
sections and
unconventional
instruments, this
composition transitions
seamlessly between
reverence and a swung
jazz-inspired section,
providing space for
keyboard improvisation.
Perfect for advanced
choirs seeking a fresh
take on timeless text.
Simpson-Curenton's
innovative style breathes
new life into choral
music, making this piece
a must-perform for those
seeking captivating
musical experiences.
Piano and congregation SKU: HP.9085 Composed by Daniel Charles Damon. Aut...(+)
Piano and congregation
SKU: HP.9085
Composed by Daniel
Charles Damon. Author
Collections. General
Worship. Hymn Collection.
144 pages. Hope
Publishing Company #9085.
Published by Hope
Publishing Company
(HP.9085).
UPC:
763628190859.
In
Little Seeds you will
find new hymns from my
heart. My devotional life
is given to you in my
hymnwriting. During the
past three years I have
been writing songs for
the unity of the church -
songs reminding us of our
baptism. I have been
writing biblical story
hymns for lesser-known
characters. I have
written paperless songs
that may be easily
memorized. I set a Rumi
poem. There are new hymns
for Christian missions
from everywhere to
everywhere. You will find
new texts and musical
settings for folk songs
from around the world. I
hope I have treated these
with the love and respect
they deserve. You will
find alternate
arrangements of some
songs that may be useful
in different settings.
Lim Swee Hong composed
three tunes for this
collection at my request.
I am also pleased to
include Lianne Tan's
first published hymn tune
in Little Seeds.
Movement I from To Shiver the Sky. Composed by Christopher Tin. BH Secular Cho...(+)
Movement I from To Shiver
the
Sky. Composed by
Christopher
Tin. BH Secular Choral.
Concert, Festival, Games
/
Video and Electronic,
Italian.
Octavo. Duration 230
seconds.
Boosey and Hawkes
#979-0-051-
48598-7. Published by
Boosey and
Hawkes
Chamber Music trombone SKU: CF.WF231 20 Original Etudes in a Variety o...(+)
Chamber Music trombone
SKU: CF.WF231
20 Original Etudes in
a Variety of Styles.
Composed by Tom Brantley.
Collection - Performance.
With Standard notation.
48 pages. Carl Fischer
Music #WF231. Published
by Carl Fischer Music
(CF.WF231).
ISBN
9781491153314. UPC:
680160910816.
Styli
stic Etudes for Trombone
was written for
intermediateto advanced
level trombonists,
seeking to meet
thedemands of the modern
marketplace for
performers. AsI often
tell my students,
it’s simply not
enough to mastera single
style and fake the rest.
To make a living as
aperformer, trombonists
are expected to play
many, manydifferent
styles authentically.
Classical performers
studyhard and devote
themselves to mastering
the stylisticnuances of
various eras, various
composers, variousforms;
jazz musicians seek to
accurately reflect the
stylesof everything from
bar-room burlesque to
Coltrane; hornbands in
the funk, rock, ska and
hip-hop idioms
mustreflect attention to
the details of their
influences even asthey
create new paths through
popular music.This etude
collection is an attempt
to help studentsand their
teachers work on the
details associated
withmastering each of
these various styles.In
order to perform with the
correct feel,
articulationand sound,
trombonists must first
get these concepts
intheir head through
diligent listening and
then disciplinedpractice
playing in every single
style. The same
wayorchestral players
study the symphonic
literature andexcerpts,
or the way a professional
jazz musician mightwork
on chord changes in
excruciating detail, a
wellroundedtrombone
player must master styles
by listeningto and
playing with great
recordings. Most of the
etudesin this book are
based on styles from
specific
orchestralliterature,
jazz standards and other
styles such as
NewOrleans’ funk
music (Meters) or the
music of JamesBrown and
Tower of Power.One final
note: some of these are
hard. On purpose.
Theseare not warm-ups
that you can play through
mindlesslyto get your
face going. These are
“study
pieces†in the
oldfashionedsense. They
are designed to challenge
you asa player, to make
you a little
uncomfortable. Some
aretougher than others,
of course, but none of
them are easy.If you can
play through each of
these well, with
greatmusicianship and
impeccable technique, you
will be anincredibly
versatile instrumentalist
and be able to
secureperformance
opportunities that are
outside the comfortzone
of many
trombonists.Thanks for
buying this book. I hope
you enjoy workingthrough
these, whether
you’re a teacher,
student,performer, or
weekend warrior. I
learned a lot by
puttingthese together and
I hope you find them
useful and
helpful. Stylistic
Etudes for Trombone was
written for intermediate
to advanced level
trombonists, seeking to
meet the demands of the
modern marketplace for
performers. As I often
tell my students,
it’s simply not
enough to master a single
style and fake the rest.
To make a living as a
performer, trombonists
are expected to play
many, many different
styles authentically.
Classical performers
study hard and devote
themselves to mastering
the stylistic nuances of
various eras, various
composers, various forms;
jazz musicians seek to
accurately reflect the
styles of everything from
bar-room burlesque to
Coltrane; horn bands in
the funk, rock, ska and
hip-hop idioms must
reflect attention to the
details of their
influences even as they
create new paths through
popular music.This etude
collection is an attempt
to help students and
their teachers work on
the details associated
with mastering each of
these various styles.In
order to perform with the
correct feel,
articulation and sound,
trombonists must first
get these concepts in
their head through
diligent listening and
then disciplined practice
playing in every single
style. The same way
orchestral players study
the symphonic literature
and excerpts, or the way
a professional jazz
musician might work on
chord changes in
excruciating detail, a
well-rounded trombone
player must master styles
by listening to and
playing with great
recordings. Most of the
etudes in this book are
based on styles from
specific orchestral
literature, jazz
standards and other
styles such as New
Orleans’ funk
music (Meters) or the
music of James Brown and
Tower of Power.How these
etudes were conceived,
composed and transcribed:
The style or concept of
the etude was thought out
in my head and ear. I
then improvised in that
style and concept on my
trombone, recording my
efforts until I was
satisfied with the etude.
All along, my goal was to
play the range of the
instrument while
emphasizing certain
articulations, rhythms,
range and, fundamentally,
the intended style of the
etude. The resulting
etude was then
transcribed by a terrific
graduate student named
Zach Bornheimer, who also
works with many other
classical and jazz
composers as a
copyist/arranger.Tips for
working on the etudes:
Seek out professional
recordings that match the
style of each etude to
get a good idea of what
the etude should sound
like musically. My
recording of each of
these etudes is available
for download and can be
purchased online for a
modest fee. Search for
“Brantley
Etudes†at either
iTunes or CDBaby.
Practice each etude very
slowly and in segments as
needed, using a
metronome. Record
yourself and listen for
good technique,
musicianship and
authenticity of style
with your sound, feel and
articulations. Compare
your own efforts to the
sounds you’ve
heard on recordings.
Would you fit in that
ensemble or band? If
range is an issue, take
certain notes or passages
down or up an octave.
Work on your fundamentals
every day, including the
techniques and skills
needed for these etudes.
Be patient! Small
improvements every day
result in big success
over time. Always play
with a wide dynamic
range. Always play with
line and direction.
Always play with
impeccable time as well
as rhythm. Use a
metronome to help with
this. Always play in
tune. You can work on
this with a tuner as well
as with drones. Play
these for teachers,
friends, peers and
colleagues not only for
their feedback but also
for the experience of
informal performance. An
audience changes
everything. Make music,
listen to music, record
yourself, play in public
and have fun!One final
note: some of these are
hard. On purpose. These
are not warm-ups that you
can play through
mindlessly to get your
face going. These are
“study
pieces†in the
old-fashioned sense. They
are designed to challenge
you as a player, to make
you a little
uncomfortable. Some are
tougher than others, of
course, but none of them
are easy. If you can play
through each of these
well, with great
musicianship and
impeccable technique, you
will be an incredibly
versatile instrumentalist
and be able to secure
performance opportunities
that are outside the
comfort zone of many
trombonists.Thanks for
buying this book. I hope
you enjoy working through
these, whether
you’re a teacher,
student, performer, or
weekend warrior. I
learned a lot by putting
these together and I hope
you find them useful and
helpful.Best
wishes,—Tom
Brantley.
Composed by
John Pasternak. Concert
Band (CPS). Set of Score
and Parts. With Standard
notation.
8+8+4+8+16+16+4+4+4+4+4+4
+8+8+8+4+4+6+6+6+8+4+2+4+
4+24+4 pages. Duration 4
minutes, 4 seconds. Carl
Fischer Music #CPS214.
Published by Carl Fischer
Music (CF.CPS214).
ISBN 9781491152409.
UPC:
680160909902.
Adven
ture Express is about
a train heading out to
the old west, seeking new
adventures and new
opportunities. The piece
focuses on the beautiful
country sides,
breathtaking vistas and
the hard work of building
a new land. It is a
contest style piece by
budding composer John
Pasternak. It is tuneful
and well-scored. Perfect
for your next
contest/festival
performance. Adventure
Express is about a train
heading out to the old
west, seeking new
adventures and new
opportunities. The piece
focuses on the beautiful
countrysides,
breathtaking vistas and
the hard work of building
a new land.The beginning
of the piece should have
a very marcato feel.
Measure 18 should have a
lighter feel than the
beginning, with the snare
drum playing the part of
the rail cars going over
the tracks. Be sure to
pay attention to the
accents in the trumpet,
xylophone and snare drum
lining up with the
accents played by the
rest of the
ensemble. At m. 55,
the xylophone should ring
out and should be played
with intention. At m. 71,
the piece returns to a
marcato style, and
remains until the end of
the piece. There are a
few sudden dynamic
changes that are crucial
for effect, so pay close
attention to those
changes.
Where's the Newborn King? Chorale Unison Unison/2-parties, Piano [Partition + CD] Lorenz Publishing Company
(A Hide-and-Seek Christmas Musical). Composed by Anna Laura Page. Arranged by Je...(+)
(A Hide-and-Seek
Christmas Musical).
Composed by Anna Laura
Page. Arranged by Jean
Anne Shafferman. For
unison/2-part choir,
piano, Reproducible.
Cantatas. Christmas,
Sacred. Choral octavo and
performance/accompaniment
CD. Published by Lorenz
Publishing Company